Mask Dances in Bhutan provide a deeper insights into Bhutanese spiritual identity through the vibrant display of religious rituals. The mask dancers wear colorful wooden or composition masks while showcasing the mask dances in Bhutan. The depiction relies on various characters such as heroes, demons, death heads, animals, gods and everyday people caricatures. The traditional music and the special costumes takes performance to the next level.
History Of Masks Dances in Bhutan
The origination of mask dances in Bhutan dates back to 8th century with Guru Padmasambhava. He was the one who spread Buddhism all over Bhutan and along with that came the Chham Dances.
Mask dances in Bhutan have a rich and spiritual history dating back to the 8th century. It all began with , and originated the Chham dance. The evolution of mask dances in Bhutan consist of three timelines:
Beginning : Introduction of masks dances by Guru Padmasambhava.
Addition of various dances : Saint Pema Lingpa made significant contributions by creating numerous dances. These performances depicted divine attendants and heavenly beings preparing the way to paradise.
Integration : Zhabdrung Ngawang Namgyel, the nation builder of Bhutan, integrated these masked dances during festivals in Thimphu, the capital of Bhutan. Thus began its integration in other festivals as well. The dances signify a respect for the religion (Buddhism) and the saints who introduced it in Bhutan.
Significance
The mask dances delves deeper into spirituality and are not just for entertainment purposes. The dances also act as a visual medium, conveying profound teachings on life, death, and morality. Today, as these dances gain popularity, they are part of almost all festivals. They have become a significant symbol of Bhutanese national identity.
Tshechu/Festival
Tshechu is a festival where the real mask dances takes place. The event is a colorful and vibrant celebration of the cultural history of Bhutan. The performers wear detailed and complex costumes that depict saints, dieties, animals and other legendary figures. The equipment they use during the celebration include cymbals, drums, horns, conches, and bells.
The festival showcases a plethora of Bhutan’s history through the mask dances and other rituals. Tshechu also brings together communities where they enjoy religious performances, receive blessings, and socialize. The festival dates vary from district to district with the dates set according to the Tibetan lunar calendar. With a gathering full of locals and foreign visitors the festival lasts anywhere from three to five days.
Popular Mask Dances in Bhutan
Zhana Chham (Dance of the Black Hat)
Zhana Chham showcases the subjugation of evil forces and their transformation into positive energy through terrifying but compassionate methods. As the name suggests the dancers wear a black hat which the cosmic mandala and spiritual transformation. The main highlight of the dance is ‘phurpa dagger’ which symbolizes wisdom, and the “skull cup’, used in ritual offerings. The sole purpose of the dance is cleansing of all the negative forces.
Tungam Chham (Dance of the Terrifying Deities)
Tungam Chham, or Dance of the Terrifying Deities, is one of Bhutan’s most dramatic and sacred cham dances. Just like Zhana Chham, the motive of the dance is to represent the subjugation of negative forces. In Tungam Chham, they do this through wrathful forms of enlightened beings like Mahākāla, Vajrakilaya, and other protector deities.
As the name of the dance suggests, the Chham involves teriffying masks like fangs, bulging eyes, and skull crowns. These forms of dances explain the dieties’ aggressive approach in destruction of ignorance, ego, and evil forces. The costumes also consists of bone ornaments, ritual daggers and thuderbolt sceptor which is representation of their divine power.
The ritual promises witnesses’ spiritual protection and a clear path to enlightenment. The intense dances reveal power of compassion, even in its wrathful form, to further transformation and liberation.
Zhana Nga Cham (Dance of the Black Hat Drummers)
Akin to the Zhana Chham, Zhana Nga Chham deals with the subjugation of negative forces and also includes a black hat. The small difference between them is the use of drums(Nga) and the elaborate costumes. The dancers wear long brocade robe (phoegho), a dorji gong (crossed vajra collar), and phoe-cho, which aids in smooth movements during the twirls.
This dance falls under the Tsun Cham (monastic mask dance) and is common during Tshechus and large ceremonies like Drubchen. People belief that the performance pacifies the elements—earth, water, fire, and air—making them fertile and supportive.
Cham-pon (dance leader) leads the dance with Cham-jug (deputy) with the others following their cue. This dance demands great form of skillset like memorizing complex dance moves and the use of drum. The selected dancers go to through Gar-chham (mask dance) course before performing in the public.
Guru Tshen Gye Cham (Dance of the Eight Manifestations of Guru Rinpoche)
This dance is solely dedicated to the diffferent manifestations of the great Buddhist saint Guru Rinpochhe. Guru Tshen Gye Chham showcases the eight different forms of Guru through the different occasions. Guru Tshen Gye translates to Eight Names/Manifestations of Guru Rinpoche. The dance forms presented are as follows:
- Dorje Droloe (Liberated Diamond-Thunderbolt):
The dance showcases the manifestation in which Guru subdued evil spirits in Paro Taktshang and Singye Dzong in Kurtoe. The dance form demands the performer to wear a scary dark red mask and a skull garland. They also require to hold dorje (diamond thunderbolt) and phurpa (ritual dagger) during the performance.
- Tshokye Dorje (Diamond-Thunderbolt Born):
In this form, the dancer wears a blue brocade and a peaceful blue mask. He also carries a diamond thunderbolt and a small bell. The name derives as his birth in a blue lotus lake on Lake Dhanakosha.
- Loden Chogse (‘He Who Wishes to Acquire Supreme Knowledge):
This form of Guru elaborates the instance when he acquired learnings of the Vajrayana Buddhism and Sciences. He acquired these knowledge from the Indian scholars after which people believe that guardian deities appeared before him. The performers suits himself with a red brocade robe and a white mask with a knot of hair and a crown. His one hand holds a little drum with the other holding a bow.
- Pema Jungne (Padmasambhava) (Born of The Lotus):
The name derives from the story of him using his divine powers to transform the wood-pile into a lake. The tale also details on his stay in the Zahor residency where he took 25 disciples and made them highly skilled. The dancer wears a robe of dark red and yellow and white mask with a pointed red hat.
- Shakya Singye (Lion of the Shakya family):
He got this name during his journey to monkhood after he renounced his kingdom. He went to meditate in a cave of Maratika in Nepal where he eventually gained enlightenment. The monks usually perform this stage of the dance wearing a red and yellow robe with a mask identical to Lord Buddha’s face. Also, a hairstyle of tight blue curls and a begging bowl in the hands of performer completes the requirement for the whole act.
- Pema Gyalpo (Lotus-King):
At his return to his native kingdom (Ogyen), the higher officials orchestrated a plan to burn him alive. The plan failed miserably and Guru came out victorious without a scar. Interpreting this as a sign of Guru Rinpoche’s spiritual realization, they converted to Buddhism and offered him the kingdom.The dancer has a robe of red brocade on, along with a bearded orange mask. The hands filled with a mirror and small drum.
- Nyima Yoedzer (Sunrays)
While preaching at the cremation grounds, Guru subjugated several evil spirits. He then vowed them to safeguard the Buddhist doctrine for eternity. The costume for this form consists of a yellow brocade, yellow mask with a blue beard and trident to hold in the hand.
- Singye Dradrog (A Roaring Lion)
The story of this instance details how Guru defeated 500 anti-Buddhists scholars. Initially defeated them in a competitive religious debate. However, when they resorted to black magic and harm the Buddhist Dharma, he took his most wrathful form.
In this fierce form, he decimated them to the ground forcing them stop the evil practices. Owing to the realization, many of these scholars converted to Buddhism. The tale ends with the restoration of peace.
The performer dons a blue brocade robe and a fearsome blue mask, adorned with four sharp fangs and five skull crowns.
